Whenever the history of Pakistani cinema would be written, director Bilal Lashari will find a prominent place in it. It was his film Waar that kick-started the revival of Pakistani cinema in 2013, and nearly nine years later, he is back to save the cinema industry with his magnum opus The Legend of Maula Jatt
What began as a remake culminated in a reboot of the famous Punjabi film that achieved cult status, not just in Pakistan but internationally as well. It is one of the few films from the Pakistani Punjabi cinema that nearly everyone has seen, and is often considered a game-changer since it heralded the rise of the Punjabi cinema that lasted for two decades.
Will Bilal Lashari’s The Legend of Maula Jatt have the same impact on the cinema industry that remains to be seen, since the film was released on October 13th, 2022 across the globe. However, those who had the privilege to watch the film believe that it will raise the bar for both the Pakistani cinema, and the film industry because the producers Ammara Hikmat and Dr. Asad Jamil Khan gave the film everything it deserved, resulting in a project that would remain etched in the minds of the audience.
Since the film has been in production for a long time, meeting the cast was an impossible task until it was made possible last week in Karachi. The whole cast was assembled from across the country – Fawad Khan from Lahore, Hamza Ali Abbasi from Islamabad, Mahira Khan, and Humaima Malik from Karachi – and made available for the Karachi press and that’s where most of us got to meet the men and women who have breathed life into the characters of Maula, Noori, Mukhoo, and Daro. BOLD had a chance to meet the four main characters of The Legend of Maula Jatt who explained their motivation behind reliving iconic characters, breathing in an era that predated electricity and their expectations from the film.
Comparing Maula Jatt with The Legend of Maula Jatt
Before we move on to the new Maula Jatt aka The Legend of Maula Jatt, one must talk about the original masterpiece that came out in the late 1970s and changed the course of cinema industry in Pakistan. At that time, the country was going through a Martial Law under Army General Zia ul Haq who had dethroned the Prime Minister Zulfiqar Ali Bhutto in a military coup. According to the makers of Maula Jatt they tried to make an action film that catered to the angry youth of the country, who were being deprived of their right to speech freely.
Enters Sultan Rahi and Mustafa Qureshi as Maula Jatt and Noori Natt and they managed to tame the public with their violent acts, and thus began the trend of wild Punjabi films that was often referred to as Curry Westerns, as a tribute to the Spaghetti Westerns produced in Italy during the previous decade. Director Bilal Lashari teamed up with Nasir Adeeb, the writer of the original Maula Jatt to come up with a retelling of the hero’s origin, and managed to cast the biggest names in the industry for the title role.
Fawad Khan and Hamza Ali Abbasi are pitted against each
other as Maula Jatt and Noori Natt (the roles played by Sultan Rahi and Mustafa Qureshi respectively), while Mahira Khan plays Mukhoo (Aasia Begum played the same in the original) while Humaima Malik makes Daro her own (as opposed to Chakori in the 1979 classic).
‘Playing a pre-existing popular character was a difficult task’
Had Maula Jatt not been a cult classic, it would have been easier for the actors to make the characters their own, but since it was a popular film when it was released, and has been watched by any across the world, the current actors found themselves under pressure while breathing life into the famous characters.
Fawad Khan said that Sultan Rahi and Mustafa Qureshi are veterans of our film industry and it would be unfair to compare him and Hamza Ali Abbasi to them. ‘I believe that it wouldn’t be correct to compare the protagonist and the antagonist of the original Maula Jatt to our film, because both films were made in different eras, and had to cater to a different kind of audience. We tried to come up with our original take on the central characters which can be referred to as a jugaar, in simple terms.’
On the other hand, Hamza Ali Abbasi thanked Mustafa Qureshi for portraying Noori Natt in such a manner that he left an imprint for him to follow. ‘Since I was playing the antagonist in The Legend of Maula Jatt, I was under pressure since I had big shoes to fill. I took that pressure positively and used the template left by Mustafa Qureshi to play Noori Natt in my own way, and if anyone says that it was built upon his performance, then that person would be correct because it was. He presented the basic layout to me so instead of starting the character from scratch, I knew Noori’s mannerisms, and after Bilal’s help, I was able to come up with my version of the character.’
While Hamza added that he would like to meet the original Noori Natt, Mustafa Qureshi and spend some time with him, he was also hopeful that the legend would approve of his performance.
In what can easily be termed as the film revolving around two men, Mahira Khan and Humaima Malik also play characters that are integral to the story. Mahira Khan plays Mukhoo, Maula’s love interest while Humaima’s Daro is Noori’s sister, and although the two played sisters in Bol, here they might be seen as rivals.
Mahira Khan described her character as someone who is there to lend a shoulder to Maula Jatt and add sizzle to what can come out as a revenge saga.
‘When I heard the story from Bilal Lashari, I asked him how Mukhoo is relevant to the plot, to which he first said that it adds colour, and later said that it adds fun. When he realized that I would understand it easily if explained in foodie terms, he said that the whole film is a meal, and Mukhoo is the beverage you drink so that it gets digested.’
Humaima Malik, who dominated the trailer with her hot look, claimed that she picked the character of Daro because it gave her a chance to do something that doesn’t land in an actor’s lap in Pakistan.
‘Daro is fearless, Daro is sensuous, Daro is daring, sexy and amazing and in short, Daro is me. She is everything a heroine can't be and that’s why I chose to play the character that has a lot to do in the film.’
‘Fawad, Humaima make their respective comebacks with something they hadn’t done before’ Fawad Khan may have worked in multiple Hindi films in the last 10 years, but the last time he worked in a Pakistani film was way back in 2007, when the revival of cinema was nowhere in sight and the multiplex culture wasn’t introduced in Pakistan. On making his comeback after so long, Fawad Khan said that it wasn’t his fault that he stayed away from the screen, but something that was controlled by other factors.
‘I began working on three films back in 2018 including my home production Nilofar and crime caper Money Back Guarantee but due to Covid-19, none of them got released. The Legend of Maula Jatt is the first one to be released, and I am glad because it was the most hectic film amongst the rest. Yes, I was under pressure not because it was a huge film but because I am not a fluent Punjabi speaker, and the dialogues penned by Nasir Adeeb are in Shayirana (poetic) Punjabi. Secondly, the story takes place at a time when that predates electricity in Pakistan (smiles, as he mentions that it might still be unavailable in many parts of the country), so we had to prepare ourselves to live in that era. At first, I had problems regarding the language, but once I got it right, it was smooth sailing.
On the other hand, Humaima Malik who made a powerful film debut through Shoaib Mansoor’s Bol in 2011, appeared in a number of films including Raja Natwarlal in India, but none of the film did well at the box office, and she is hopeful that her Daro would change her luck.
‘What I did in Bol was different from what I am doing in The Legend of Maula Jatt; back then the audience praised my work while now I am praising my own work, because I know how hard it was for me to play something I am not.’
Maula Jatt vs Noori Natt – The rivalry that has no equal Playing Maula Jatt and Noori Natt must have been anything but easy for Fawad Khan and Hamza Ali Abbasi respectively, but thankfully both the actors credited the other’s energy for what they describe as a powerful performance.
When Fawad Khan was asked about the secret to stellar chemistry with Hamza Ali Abbasi, he said that not knowing Hamza socially helped him in this regard.
‘Before we were cast opposite each other in TLMJ, Hamza and I barely knew each other. We have always been very cordial with one another and it was only after the shoot that we got to know each other and now we talk regularly. Not knowing him helped me big time because that translated well on screen, and I must say, I fed on his energy which was limitless and made Noori Natt amongst the most interesting characters of the film. I tried to match his energy and, in that process, developed a really good chemistry with him.’
Had Maula Jatt not been a cult classic, it would have been easier for the actors to make the characters their own, but since it was a popular film when it was released, and has been watched by any across the world, the current actors found themselves under pressure
Hamza Ali Abbasi also had an interesting take on the rivalry of the two characters, and he also credited his co-star for making him give his very best.
‘TLMJ is all about rivalry of Maula Jatt and Noori Natt. It is for the audience to judge our chemistry but let me tell you, I was blessed to have Fawad as Maula because his energy helped me a lot. When two actors are giving an intimate performance like we did, and if one of them is giving his best, then the other has to follow suit and that’s what happened with us here. His energy and performance helped me raise the bar.’
The transformation that landed one actor in hospital, another learning an ‘alien’ language
While Fawad Khan and Humaima Malik were making their comebacks through a Punjabi flick, Mahira Khan was moving into new territory after conquering Pakistani and Indian cinemas. Her only issue here was speaking Punjabi on
screen, which was not an easy job for someone who has never spoken the language in real life.
‘I am an actor and when I signed the film, I realized that I had to learn Punjabi in order to make Mukhoo convincing enough for the audience. I had a Punjabi language instructor with me who helped me in this regard and I must also mention Bilal (Lashari) and Hamza (Ali Abbasi) who guided me whenever I found myself in trouble. In fact, I used to send voice notes to Nasir sahab (the writer of Maula Jatt and TLMJ) whenever I was unable to understand a word or its meaning, and when I was able to understand that word, it was easy for me to deliver that dialogue.’
For Fawad Khan, the language barrier was also there but he had bigger issues than learning the language.
‘We were lucky enough to find a very good action team from abroad, and I had less than two months to gain 20 kilograms before their arrival, which I did. However, since I am a Type 1 Diabetic patient, that weight gain didn’t suit me and I had to check into a hospital after the first spell of the action scenes was over. The pre-existing condition didn’t do me any favours since my kidneys stopped working, and I took time to recover.’
For Hamza Ali Abbasi, the Legend of Maula Jatt is more than a film, it is an opportunity to do something good for the country.
‘We have tried to achieve many milestones through this film, and it is up to the audience now to decide whether we were successful in our attempts or not. From the scale of the film, to the modern visual effects, get-ups, action sequences, etc., we have tried our best to give an international-level product to the audience which hopefully might open closed doors for our industry abroad. We would consider ourselves victorious if the public feels proud after watching the film, for which every one of us – from the spot boy to the director – gave their 200 percent.’
As for Humaima Malik, playing a vamp was the biggest challenge, which she took sportingly, and came out surprisingly well.
‘It was always going to be a gamble for me, to play a vamp in my comeback film, however, I consider myself an actor whose craft is not to play the heroine but to play any character. Daro gave me the chance to be spicier than the heroine, even if it had shades of grey. I believed myself to be Daro and that helped me play the challenging role without much difficulty.’
How TLMJ served as a reunion of sorts for the cast!
Although Fawad Khan and Mahira Khan became the ideal couple for the TV audience when they appeared together in Humsafar way back in 2011, they haven’t been able to share the screen since due to their busy schedule. The Legend of Maula Jatt not just brought them back together after 11 years but reunited Humaima Malik with his Akbari Asghari co-star for the first time since 2011.
Fawad Khan had the right answer for the occasion, and he said that while
not knowing Hamza Ali Abbasi helped him in playing the protagonist better, knowing the leading ladies made it easier for him.
‘The kind of roles Mahira and I did in Humsafar or Humaima and I had in Akbari Asghari were poles apart from The Legend of Maula Jatt, however, the comfort zone factor was there which eased the process of reuniting with those with whom I had worked before.’
Mahira Khan also believed that the reunion being another language helped them rid of the Humsafar baggage which wouldn’t have been easy had they made a comeback in an Urdu play or film.
‘Many people wanted us to work together after Humsafar but I think we were busy in that regard. Sometimes a project was offered to both of us but either I was busy, or Fawad was, and that’s why nothing could materialize.
Thankfully, with The Legend of Maula Jatt being in Punjabi helped us both since we were both learning the language along the way and that helped us get rid of the Humsafar baggage. Not only were we not required to recreate the nostalgia but also the chemistry that arose from speaking Punjabi helped us click together.’
Humaima Malik also had wise words to say about reuniting with Fawad – we are very lucky together.
While Fawad reunited with the ladies, Hamza Ali Abbasi’s reunion was with Waar Bilal Lashari with whom he was working after 8 years. Back in 2013, when Waar was being made, Hamza Ali Abbasi was trying to carve a separate identity for himself while in 2022, he has his own set of followers both online and offline.
‘Bilal and I are old friends and in fact when we were young, we saw Maula Jatt for the first time together. Working with him is not work at all, it’s like spending time together with a friend, and on the sidelines, we make a film.’
TMLJ sets the screen on fire, but without a song!
The first thing that would come to mind after watching The Legend of Maula Jatt would be the lack of songs, which are considered an integral part of Punjabi films in the region. When Mahira Khan was asked to give her two cents on the
Will Bilal Lashari’s The Legend of Maula Jatt have the same impact on the cinema industry that remains to be seen, since the film was released on October 13th, 2022 across the globe. However, those who had the privilege to watch the film believe that it will raise the bar for both the Pakistani cinema, and the film industry
matter, she said that she wished there was a song in the film, but that would not have sat well with Bilal Lashari’s vision.
‘I sincerely wish that TLMJ would have had a song in it, but trust me, there was no scope for one here. It is a dark film about revenge, about trauma, about the history of the two main characters, it is surprising that it has Mukhoo in it.’ Finally, the million-dollar question – have you watched Maula Jatt?
Hamza Ali Abbasi was the first one to raise his hand, saying that since he used to be a film buff in his younger days, he had watched the film multiple times and considers it a must-watch flick.
Fawad Khan defends the decision of not watching the complete Maula Jatt by saying that a) he grew up abroad and b) he wasn’t well-versed in Punjabi language. He also adds that the film was released before he was born, and although he had seen parts of it, he has yet to see the complete version.
Humaima Malik’s answer was short and sweet, because the synopsis of her answer was ‘absolutely not’, but she added that she would now watch it once she is free.
Mahira Khan explained that she had seen Maula Jatt but only after saying yes to the reboot. ‘I had to watch a lot of Punjabi songs and Punjabi content to understand the body language, and mannerisms of ladies in the village, and that’s how I saw Maula Jatt but in bits and pieces. Bilal had told me not to watch it otherwise I would have gotten influenced by the Mukhoo of that era, but trust me, once I started speaking Punjabi, everything from my body language to mannerisms changed, and I became Mukhoo from Mahira Khan, in no time.’
Conventional wisdom would have us believe that a biopic demands a strict adherence to facts and should resist the temptation to prevaricate or fictionalise. At its core, a film that dramatises the life of a public or historical figure should weave a mesmerising patchwork that captures his or her hopes and pains.
Andrew Dominik's Blonde has been touted as a "fictional portrait" of Hollywood actress Marilyn Monroe's life and, therefore, doesn't fall into the category of a traditional biopic. The over two-anda-half hour film is based on Joyce Carol Oates' eponymous novel that, the author asserts, shouldn't be construed as a biography. Be that as it may, it is difficult to present a fictional spin on the lives of people who have already carved a niche for themselves in the public imagination. A person's reputation inevitably precedes them and the boundaries between fact and fiction become porous. Even so, Blonde's half-truths and egregious fabrications don't always come through as unsettling. At one point, viewers may be taken by the film's rich cinematic appeal and accept its occasional flights of fancy as a creative licence. Once the audience decides to suspend disbelief and uncritically absorb the story that unravels on screen, the filmmaker gains the golden opportunity to work his magic and re-imagine Monroe's life without any fetters. The problem arises when Blonde relies heavily on tropes to create a portrait of Monroe's successes and failures that is far from unique. What could have been a dark, memorable and brilliant evocation of the actor's life becomes the story of a distressed damsel who is in desperate need of a saviour.
Blonde excessively mines the bitter burdens of Monroe's childhood. From the outset, viewers are reminded that Marilyn Monroe is a facade that has been carefully cultivated and honed to a purpose. The actor began her life as Norma Jeane, the daughter of a troubled mother, and was shuttled from one orphanage to the next.
Norma Jeane remains the real protagonist of Blonde, even if she's shielded by the imposing presence of her alter-ego Marilyn Monroe. The sensibilities of the abandoned girl linger in Monroe's consciousness as she battles a whole spectrum of professional or personal calamities. As a result, Blonde turns an intimate gaze at a woman who is haunted by past traumas and is trapped in a world that she doesn't entirely understand.
Discerning viewers might not be pleased with the false narrative of victimhood created around one of the most successful American artistes in modern history. A vast majority of these sceptics may rightly question whether the filmmaker has accounted for the heady mix of dedication and ambition required to make it big in Hollywood. In an attempt to draw attention to Monroe's mental health concerns, the creators of Blonde have shackled the actor to her traumas and stripped her of her creative genius. Unfortunately, the film not only relies on this dangerous striptease, but also focuses disproportionately on Monroe's body. Gratuitous displays of nudity and sexual violence serve to reinforce the ac-
tor's image as a "blonde bombshell" and do little to open a vista onto her mind. A heartbreaking scene pertaining to an abortion stands the danger of becoming slightly grim and perhaps deserves its own trigger-warning.
The dark, depressing realities of Monroe's life have remained the subject of considerable speculation since her unexpected death at the age of thirty-six. While Monroe has been viewed as a quintessential sex symbol over the decades, her public image has been besmirched by unflattering rumours. Blonde does little to reverse her tainted reputation and recycles decades-old assumptions with an alarming alacrity.
The film obtains its dramatic thrust
from Monroe's poignant search for her father and her failed attempts at 'finding' him in the men who flit in and out of her life.
It comes as no surprise that the men in her life become the source of disappointment as they invariably struggle to accept her public image. Blonde succeeds in tackling the age-old misconceptions that women in the film world are mere commodities who aren't entitled to respect. At the same time, the film portrays the toxic patriarchy that runs rife in America's glamour business. The long history of clandestine casting couches and the relentless mistreatment
of women in the film industry have been swept under the carpet for decades. Andrew Dominik's flexible interpretation of Monroe's life ought to be commended for reviving these debates for a Twitter-savvy generation that isn't afraid to wage a battle against injustices.
Despite its flaws, Blonde benefits from a refreshing cinematography that mirrors the complexity of Monroe's life. The film reveals facets of the actor's life in a somewhat spasmodic fashion. Scenes appear as fragments that don't always form a cohesive whole when they're stitched together.
This technique works as the film reflects the idiosyncratic worldview of its troubled and enigmatic protagonist. The creators seem to be conscious of the voyeuristic quality of the film and have used effective cinematography as a means of alleviating doubts about their own intentions. More often than not, these techniques don't possess the power to redeem the creators or free them from blame. Instead, they seek to draw excessive attention to their intentions.
It isn't easy to play the role of characters who are based entirely on real people. However, the cast of Blonde delivers energetic and noteworthy performances. Ana de Armas is convincing as a troubled Monroe while Bobby Cannavale stands out as the former athlete Joe DiMaggio. Adrien Brody succeeds in transforming himself on screen into Arthur Miller, the playwright who went on to become Monroe's third husband.
Nevertheless, Blonde struggles to leave a lasting impression on viewers. Soon after the film ends, the soaring sense of disbelief is likely to return like a spectre. Many viewers might find themselves mesmerised by the story but tormented by its inaccuracies, erasure and fictive spirit. A film based on a public figure will only be taken seriously if it engages with the most intriguing aspects of the person's life. Unfortunately, the curiosities about Monroe's life are aligned closely with her death. Blonde mercifully deviates from conspiracy theories surrounding the actor's death. Prurient audiences will, therefore, have to wait for a more holistic approach that depicts Monroe's life on the screen.
Goodbye, my beautiful!
One morning I awakened
Oh Goodbye beautiful, Goodbye beautiful, Goodbye beautiful! Bye! Bye!
One morning I awakened
And I found the invader
Oh partisan carry me away
Oh Goodbye beautiful, Goodbye beautiful, Goodbye beautiful! Bye! Bye!
Oh partisan carry me away
Because I feel death approaching
And if I die as a partisan
And if I die on the mountain
Oh Goodbye beautiful, Goodbye beautiful, Goodbye beautiful! Bye! Bye!
And if I die as a partisan
And if I die on the mountain
Then you must bury me
Bury me up in the mountain
And you have to bury me
Oh Goodbye beautiful, Goodbye beautiful, Goodbye beautiful! Bye! Bye!
Bury me up in the mountain
And you have to bury me
Under the shade of a beautiful flower
By Martina UcciROME
From Ukraine to Chile, protesters worldwide have long rallied to the stirring Italian anthem "Bella Ciao," meaning ‘Goodbye, my beautiful’ in English. The song, which talks of dying for freedom, was sung in Italy during World War II and became a symbol of resistance against the fascists.
The song has since become a global rallying call, including in support of Iranians protesting the death of 22-year-old Mahsa Amini after her arrest by the feared morality police.
Early in the protests, a video went viral of a singer -- her head uncovered in defiance of the compulsory hijab -- performing a version in Persian.
Since then "Bella Ciao" -- meaning "Goodbye Beautiful" -- has been sung by supporters of the protests, including Kurdish women in Turkey and expatriate Iranians in Paris.
Although it has long been associated with Italian partisan fighters, there is no evidence it was actually
ever sung by them, according to Carlo Pestelli, author of the book "Bella Ciao: The Song of Freedom".
The song certainly became popular during the war, he said. But its history goes back further to a 19th century musical tradition from northern Italy characterised by passionate themes, especially unfulfilled love.
"It is difficult to say exactly what its origins are, but its ambiguous lyrics have allowed its adoption for many causes," says Pestelli.
"It wasn't a communist song but a manifesto for freedom... it represents apolitical values that everyone can understand and share," Pestelli adds.
It is also "an easy song to sing", with a catchy chorus that even non-Italian speakers can pick up.
The global reach of the song has been fuelled by popular interpretations, including by French star Yves Montand, and more recently, its inclusion in the Netflix hit "Money Heist". And it can be heard wherever there are crowds rallying, from the streets of New York to Hong Kong and Athens.
Cry against oppression
Ukrainians this year have sung it in defiance of the
invading Russian forces, it has been the soundtrack to dancing demonstrators in Tripoli, a chant by English football fans and a call for action by climate activists from Sydney to Brussels.
In Rome and Paris, it was sung with emotion from balconies during the 2020 coronavirus lockdown.
For many, the history of the song is of less importance than its global impact.
"This song is very famous in Iran and all over the world because it is a symbol against oppression," said Masah, a 29-year-old Iranian expatriate who attended a solidarity rally for the Mahsa Amini protests in Rome.
While the lyrics are often translated, the chorus is normally sung in Italian, although it has been adapted.
In 2019, anti-regime protesters in Iraq rallied to their own version, "Blaya Chara", meaning "no way out" in Iraqi dialect.
"When we sing it we feel more united with the whole world," says Masah's sister, Shiva, 33, at the Rome Iran protest.
"Music is a form of expression that allows you to communicate even without knowing other languages." —AFP
And the people who shall pass
And all those who shall pass
Oh Goodbye beautiful, Goodbye beautiful, Goodbye beautiful! Bye! Bye!
And the people who shall pass
And all those who shall pass
And they will say, "What a beautiful flower!"
This is the flower of the partisan
Oh Goodbye beautiful, Goodbye beautiful, Goodbye beautiful! Bye! Bye!
This is the flower of the partisan
Who died for freedom!
English translation of Bella Ciao
You have a good chance of picking any sunscreen that catches your eye. However, wearing any sunscreen is better than wearing none at all and the best way to protect your skin is to choose a sunscreen that is tailored to your skin type. In light of the dangers associated with sun exposure, selecting the right SPF (Sun Protection Factor) is an important step –regardless of your skin type.
The right broad-spectrum sunscreen will help you stay comfortably protected – whether you have dry or oily skin, combination or normal skin, or acne prone skin. It also helps prevent premature aging and sun damage and reduces the chance of skin cancer as well.
By educating yourself, you may confidently choose the right sunscreen to meet your specific needs, providing you with the finest protection from the sun's damaging rays when applied on a regular basis.
When shopping for sunscreen, keep the following factors in mind:
• Mineral v. Chemical
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By serving as a physical barrier between your skin and the sun, these sunscreens deflect the sun's UV radiation away from your skin. Chemical sunscreens, which are commonly created with avobenzone, octinoxate, and oxybenzone, penetrate your skin and then reflect UV rays back. Studies show that mineral sunscreen is more durable and stays on the skin for a longer period.
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A water-resistant sunscreen will keep you protected even if you swim or sweat. Some sunscreens are particularly water-resistant, extending their shelf lives even more. These sunscreens should still be re-applied, as instructed on the label.
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Dermatologists stress the need of choosing a broad-spectrum sunscreen that will shield your skin from UVB and UVA rays. In addition to causing skin cancer, UVB rays can make the skin red and sunburned. Along with photoaging or premature aging of the skin, UVA rays can potentially result in cancer.
• Sun Protection Factor (SPF)
Did you know that sunscreen loses some of its effectiveness after application? An SPF 30
sunscreen, for instance, provides coverage more akin to an SPF 15 sunscreen. In comparison to the length of time spent without sunscreen, the SPF rating on sunscreen indicates how long it would take for the sun's UV rays to cause skin to become red. An SPF 30 sunscreen, for example, permits approximately 3% of UVB rays to reach your skin. Anything less than SPF 30 will not give adequate protection. Experts also advise wearing sunscreen at least 30
minutes before going outside.
How to pick a sunscreen for your skin type
• For oily and acne prone skin
Any sunscreen for oily skin must be noncomedogenic, which means it will not clog pores. If you have oily skin and a history of acne, this is very critical. An oily skin sunscreen
should also be free of excessively nourishing ingredients and have a lightweight, non-greasy consistency that is easily absorbed.
• For dry skin
Individuals with dry skin will benefit from a more nutritious sunscreen, particularly if the moisturizing stage is skipped. Be on the lookout for sunscreens with moisturizing components like ceramides, glycerin and hyaluronic acid, which are all natural proteins that help the skin maintain moisture.
• For sensitive skin
According to experts, mineral sunscreens containing titanium dioxide or zinc as active components are often less irritating to the skin and can benefit individuals with rosacea, eczema, or allergies to perfumes or preservatives in particular. Hyaluronic acid, nicotinamide/ niacinamide, a type of vitamin B3, and vitamin C, which is necessary to produce collagen, are among the ingredients that can also be helpful.
• For normal to combination skin
Normal to combination skin does not require an oil-controlling or intensively moisturizing product, but it will benefit from a mild, noncomedogenic sunscreen that is unbelievably comfortable to use every day.
• For melanated skin
While melanin does offer some natural protection for the skin, it does not guarantee that patients are fully free from skin cancer. Those with melanated or darker skin, should search for sunscreens that are tinted or that rub in undetectably.
• For kids’ skin
Experts advise taking extra care when buying sunscreen for children because they are more prone to sunburns, especially in the summer. They also advise avoiding sunscreen and direct sun exposure for babies under six months. The best course of action is to keep a newborn in the shade and cover their skin with loose-fitting cotton clothing. Sunscreen is a crucial component of a skincare routine that should also involve finding shade, avoiding UV exposure, and using protective apparel. It must also complement your other skincare products to easily integrate into your daily routine. With so many sunscreen brands available in the market, it can be a daunting task to choose the best sunscreen for your skin and avoid common mistakes when purchasing one, but with these guidelines as mentioned above, you are now well aware just what to look for!
By AFP
Liver cancer is the third leading cause of cancer death and the number of people who develop or die from liver cancer worldwide will increase by over 55 percent by 2040 unless more is done to fight the often preventable disease, according to researchers.
Some 905,700 people were diagnosed with liver cancer and 830,200 died from the disease globally in 2020, according to a new analysis by scientists from the International Agency for Research on Cancer (IARC), an arm of the World Health Organization (WHO) based in Lyon, France.
At the current rate, 1.4 million people will be diagnosed and 1.3 million will die from liver cancer by 2040, the analysis predict. That would mean an increase of 500,000 cases or deaths per year, "unless we achieve a substantial decrease in liver cancer rates through primary prevention," say IARC epidemiologist Harriet Rumgay, the study's lead author.
The study also found that liver cancer is one of the top three causes of cancer deaths in 46 countries -- and is in the top five in nearly 100 countries.
Cases and deaths were highest in East and Southeast Asia as well as North Africa.
Statistics about liver cancer
In January this year, the American Society of Clinical Oncology (ACS) released updated facts and figures about liver cancer adapted from the American Cancer Society's publications, the Cancer Facts & Figures 2021 and 2022, the ACS website and the International Agency for Cancer Research website. Liver cancer is the fifth most common cause of cancer death for men and the seventh most common cause of cancer death among women, reveal the statistics.
As per the ACS statistics, an estimated 905,677 people across the world were diagnosed with liver cancer in 2020, while an estimated 41,260 adults (28,600 men and 12,660 women) in the United States in 2022 will alone be diagnosed with primary liver cancer.
In 2020, an estimated 830,180 people around the world died from the disease. Comparatively speaking, liver cancer is the most common cancer type and is much more common in sub-Saharan Africa and Southeast Asia than other regions. From 1980 to 2015, as the ACS statistics reveal, the incidence of liver cancer
is now more than triple and between 2013 and 2017, incidence rates in women increased by approximately 2% annually, while remaining steady in men. However, men are almost 3 times more likely than women to be diagnosed with the disease, says the American Society of Clinical Oncology (ACS). Researchers believe the overall liver cancer death rate more than doubled between 1980 and 2013, but it stabilized through 2019. Between 2014 and 2018, the liver cancer death rate in women increased by 1% annually but remained steady in men. It is estimated that 30,520 deaths (20,420 men and
10,100 women) from this disease will occur in the United States this year, according to the ACS statistics. "Liver cancer causes a huge burden of disease globally each year," says study co-author Isabelle Soerjomataram. "It is also largely preventable if control efforts are prioritised -- major risk factors include hepatitis B virus, hepatitis C virus, alcohol consumption, excess body weight, and metabolic conditions, including type 2 diabetes," according to Soerjomataram.
The grim 2040 prediction illustrates the need for progress against hepatitis B and C af-
ter being disrupted by the Covid-19 pandemic, the researchers say, urging more vaccination, testing and treatment. Rumgay also called for "measures to reduce population alcohol consumption and curb the rise in the prevalence of diabetes and obesity". Another IARC study recently suggested that 17 percent of liver cancer cases can be avoided by reducing alcohol consumption. The team based their analysis on the IARC's GLOBOCAN 2020 database, which has incidence and death estimates for 36 types of cancer across 185 countries. The analysis was published in the Journal of Hepatology.
Hibiscus, a genus of flowering plants in the mallow family, is a globally grown flower with a range of colours and distinct flower types with a characteristic stamen. The national flower of Malaysia and the state flower of Hawaii, hibiscus flower is used to reduce cholesterol in blood and to control fever, blood pressure, and fungal and bacterial infections. Containing loads of vitamin C, antioxidants and diuretic properties, the plant is also used as a natural remedy for wound healing as well as for sore and painful eyes.
Type of plant
Suitable for warm, temperate, tropical and subtropical regions, the hibiscus plant is an annual and perennial plant which can be grown as an outdoor herb, shrub or even as a small tree, while its many indoor varieties are also used for home beautification. An all-season plant that thrives throughout the year, it may grow from 3 feet to even 10 feet high and is usually 2 feet in width. These may be grown in small pots to a 12-inch sized pot. However, when planted in the ground, the plant attains maximum height and bears more flowers than the potted plants.
How to sow and grow
The propagation of its stems is the best way to grow a hibiscus plant. For this purpose, after selection, a stem is cut out from the mother plant, ideally 4 inches to half feet in size. The leaves, from the lower half of this stem cutting, are removed and from this side it is inserted into the pot for propagation. Before inserting, it may be dipped into honey, cinnamon powder or aloe vera gel to save the plant from fungal diseases. It takes around a period of 8 to 10 weeks for its root development.
Growing the hibiscus plant from the seeds is relatively difficult. Before sowing, its seeds must be soaked in water and nicked up to weaken the outer shell to help water enter the seeds. The treated, slightly modified seeds are then placed into the soil quarter to half-inch below at least.
Hibiscus flower plant grows well from March to October in the subcontinent. After sowing seeds, it takes at least 15 to 20 days for seed germination. When it turns into a seedling, it may take from 6 months to 3 years for the first bloom of hibiscus flowers. The hibiscus plant is quite resilient and tropical and may continue to live for decades even without much care.
Sunlight and watering requirements
The plant grows well in direct sunlight exposure and should be exposed to sun for four to eight hours. To keep the soil moist throughout the day, the plant regularly needs sufficient watering during the blooming stage in particular. Mulching also helps in retaining water that should not pool up and be able to drain easily from the pot. The water should not be used directly on the base of the stem.
Fertilizers for plant nourishment
For plant growth, use fish and prawn scraps or used tea to
acidify the soil of an acid-loving plant like hibiscus plant.
You may also add banana peel fluid every 10 days to 2 weeks.
Sometimes, its leaves may lose their green colour and turn yellow due to fertilizer deficiency, lack of water or changes in temperature. To tackle these situations, the plant must be provided with maximum nitrogen and potassium-rich fertilizers.
Pest attack
Apart from a few pest attacks by mealy bugs, aphids and red spider mites, there are hardly any significant pest attacks on most varieties of hibiscus plants. All such attacks can be avoided by fortnightly spray of any organic pesticide available at different nurseries or plant stores.
Flowering and harvest
Many traditional medicines and folk remedies are linked with the hibiscus flowers. For example, they are used in the
Many traditional medicines and folk remedies are linked with the hibiscus flowers. For example, they are used in the preparation of cold and hot beverages like tea and are used as a seasoning agent for meat dishes. Its petals and leaves are also used to prepare the organic shampoo
preparation of cold and hot beverages like tea and are used as a seasoning agent for meat dishes. Its petals and leaves are also used to prepare the organic shampoo for strong and dandruff free hair, while much care must be taken to remove the stigma part before preparing the shampoo.
The single petal hibiscus varieties are relatively inexpensive compared to the double petal ones available in plant nurseries. With a relatively shorter life span of an overnight to 3 days, some flowers are likely to bloom at a time. The buds of hibiscus flowers may often drop off before blooming due to decrease in watering and sunlight exposure or any noticeable change in temperature.
The writer focuses on issues related to traveling, health, organic farming and kitchen gardening. He tweets @Ali_Shahid82 and can be reached at kalishahid@hotmail.com
Pole dancing as a form of exercise has been tainted by its association with the seedy strip clubs and burlesque houses often depicted in Hollywood films.
However, in a deeply conservative country like Saudi Arabia, when Nada, a young female yoga instructor, took up pole dancing, the backlash was both harsh and quick, and she has struggled to overcome the fallout ever since.
Family and friends in the capital Riyadh told her the gruelling form of exercise -- a test of strength and coordination involving acrobatic movements on a vertical pole -was "so wrong".
Undeterred, Nada stuck with the course she enrolled in a few years ago at a local gym, in part to chip away at that very stigma. The 28-year-old believes she has made
progress, at least within her own circle of friends.
"At first, they said this is inappropriate and a mistake," says Nada. "Now they say, 'We want to try it'."
But Nada's insistence on being identified by her first name only indicates that she and other Saudi pole dancers still have some work to do.
For many years, notorious restrictions on what Saudi women could wear and where they could work also limited their options for physical recreation.
However, the promotion of women's sports has recently featured as part of a broader push to open up Saudi society and project a softer image to the outside world, despite persistent repression of women activists and dissidents.
Last month saw the Saudi women's national football team compete in their first matches at home against Bhutan, and a women's premier league is now in the works.
Officials are also working towards greater women's participation in golf, a traditionally male-dominated sport whose popularity is taking off domestically.
In this changing context, at least three gyms in Saudi Arabia have spotted an opening and begun offering pole dancing courses.
"I feel that pole dancing has been given more attention, because it's something new
and girls love to try it," says May al-Youssef, who owns one such gym in Riyadh, the capital of Saudi Arabia.
Pole dancing enthusiasts argue that because alcohol is banned in Saudi Arabia, and there are no strip clubs, the activity's bad rap must come from abroad.
One pole dancing student in Riyadh claimed that she "wasn't ashamed at all" to give it a try.
"That's my personality, I would say. I'm not ashamed to embrace my sensuality, my femininity. I'm not ashamed of anything, as long as I'm not hurting other people," she says. But she did acknowledge that not every -
one would be so comfortable with it, and agreed to describe her experience only if she could remain anonymous. The only reason she stopped, she says, was because pole dancing turned out to be so physically demanding -- much more difficult than it looks on screen.
"I realised it's not my thing," according to her. "It needs a lot of muscles, a lot of strength to be able to do it."
Gym manager Youssef said she hopes the physical demands of pole dancing come through in the pictures and videos that she posts on Instagram. She believes that compelling evidence of its benefits can be found in the transformation of her clients.
"With time they seem to like their bodies more," she adds. "They say to themselves: 'I am feeling good in my skin'." —AFP
The name’s Bond, James Bond, and since his debut film Dr. No in 1962, the iconic secret agent has been played by six actors (mostly British) on screen so far. From Sean Connery to Daniel Craig, the producers have only allowed six actors to don the 007 code-name, and while some had long innings, a couple had short stints as the agent with a license to kill. Let’s go back in time to find out which actors had the privilege to play the iconic British character who is not just tall, broad, and handsome, but suave enough to win over ladies.
Sean Connery
First Appearance – Dr. No (1962)
Final Appearance – Diamonds Are Forever (1971)
Total Number of Films: 6 – Dr. No, From Russia with Love, Goldfinger, Thunderball, You Only Live Twice, Diamonds Are Forever
Age when his first film as James Bond was released: 32
Age when his final film as James Bond was released: 41
When Sean Connery was selected to play James Bond, the creator of the character Ian Fleming wasn’t impressed. However, after watching the Scot breathe life into creation, the writer added Scottish ancestry to 007’s background. Playing James Bond was the turning point in the career of Sean Connery (later Sir Sean Connery) who was not only the first one to play the character but also the first to quit. Sean Connery grew tired of playing James Bond after five films and decided to try his hand in non-Bond movies, and although that meant that another actor was cast for On Her Majesty’s Secret Service, Connery was back for one last hurrah in 1971. In all his six films, he took coolness to a whole new level with his performance, and despite five actors trying to emulate him, he is still regarded as the best actor to play 007.
George Lazenby
Only Appearance – On Her Majesty’s Secret Service (1969)
Total Number of Films: 6 – Dr. No, From Russia with Love, Goldfinger, Thunderball, You Only Live Twice, Diamonds Are Forever
Age when his only film as James Bond was released: 30
The Australian George Lazenby was only drafted to play James Bond because of Sean Connery’s refusal to don the 007 tuxedo. Contrary to popular belief, the model-turned-actor did a satisfactory job and the film even did well at the box office, but his own comments about the character led to his downfall. In many interviews after the film’s release, he blamed the producers for not taking him seriously, which wasn’t helped by his lack of acting experience. When Sean Connery agreed to appear in one more James Bond flick, George Lazenby had to go. Roger Moore’s casting after one film meant that the Australian would remain the only person on the list with just one 007 flick to his name.
Roger Moore
First Appearance – Live and Let Die (1973)
Final Appearance – A View to a Kill (1985)
Total Number of Films: 7 – Live and Let Die, The Man with the Golden Gun, The Spy Who Loved Me, Moonraker, For Your Eyes Only, Octopussy, A View to a Kill
Age when his first film as James Bond was released: 46
Age when his final film as James Bond was released: 58
Not only was he the oldest guy to play James Bond (he was three years older to the first 007, Sean Connery), Sir Roger Moore remains the oldest one to play the character onscreen. He was two years shy of his 60thh birthday when he last appeared in a James Bond film in the mid-1980s, but considering he has the highest number of films as James Bond, it wouldn’t have been an easy decision for the producers at any time. His tongue-incheek Bond was the need of the hour in the 1970s and the 1980s and he added a little fun to it, using his experience as TV’s The Saint. He added the suavity that was missing in the character, and despite being 58 when his last Bond film was released, he hardly looked a day past 45!
Pierce Brosnan
First Appearance – Goldeneye (1995)
Final Appearance – Die Another Day (2002)
Total Number of Films: 4 – Goldeneye, Tomorrow Never Dies, The World Is Not Enough, Die Another Day
Age when his first film as James Bond was released: 41
Age when his final film as James Bond was released: 49
Although Pierce Brosnan was the final actor to be cast as James Bond in the original timeline, he could have preceded Timothy Dalton, had the producers of his TV show Remington Steele not become greedy. They renewed the cancelled show after Pierce Brosnan was offered the chance to play 007, and since he was contractually bound with the producers, Timothy Dalton was preferred. When James Bond did make his return after a hiatus of six years, Pierce Brosnan was at the helm, and many considered him a direct descendant of Roger Moore because he could be charming, cheeky, and dangerous at the same time, without losing his cool. His first three Bond films did well at the box office, and if the fourth and final flick – Die Another Day – had done well at the box office, there might not have been a reboot with Daniel Craig.
Timothy Dalton
First Appearance – The Living Daylights (1987)
Final Appearance – License to Kill (1989)
Total Number of Films: 2 The Living Daylights and License to Kill
Age when his first film as James Bond was released: 41 Age when his last film as James Bond was released: 43
Don’t be surprised to know that before he eventually agreed to play James Bond, Timothy Dalton was asked once before in the 1970s, after Sean Connery had quit the role. At that time, Timothy Dalton was in his 20s and would have been too young to play the character, and that’s why when he was again approached in the 1980s, he said yes and gave the audience a Bond that would later be seen in Daniel Craig films. Had it not been for the delays on the producers’ part, Timothy Dalton would have played Bond in more films but his innings ended after just two. If you watch his Bond flicks today, you will know that Daniel Craig took his inspiration from Dalton’s Bond, where the character was less fun, and fiercer.
By AFP A James Bond sale in London featuring the fictional superspy's Aston Martin cars, suits and wristwatch has raised £6.9 million ($7.8 million) for charity
-- more than all previous 007 sales at the auction house combined.
The two-part sale by Christie's and EON Productions' to mark 60 years since the premiere of first film "Dr. No" concluded on October 5 -- the official James Bond Day.
The auction spanned all 25 films in the saga, featuring props, posters, memorabilia and experiences as well as the vehicles, watches, and costumes.
The live auction last month realised £6.1 million, with a replica of an Aston Martin DB5 used for the stunts in 2021 blockbuster "No Time to Die" selling for nearly £3 million.
The online sale, which finished last week, added another £771,000 to the total, with top earners including a signed script of 2006's "Casino Royal" (£69, 3000), and a suit worn by outgoing Bond actor James Craig in 2012's "Skyfall" (£44,100).
A menu that Bond ordered caviar from after winning a card game against
Daniel Craig
First Appearance – Casino Royale (2006)
Final Appearance – No Time to Die (2021)
Total Number of Films: 5 – Casino Royale, Quantum of Solace, Skyfall, Spectre, No Time to Die
Age when his first film as James Bond was released: 38
Age when his final film as James Bond was released: 53
For the generation that grew up between 2006 and 2021, there was only one James Bond, and his name was Daniel Craig. He may have been blond; he may have been too young to play the character but Daniel Craig proved his worth with five James Bond films that set the box office on fire. He even pushed Roger Moore to second place by playing the character longer than anyone else in terms of years. He reminded the audience of Timothy Dalton’s version rather than Sean Connery’s or Roger Moore’s and that’s what made him stand out, despite his character dying at the end of the final film. His James Bond flicks have been intelligent, action-packed, and linked together, which is something that didn’t happen before Daniel Craig, and if the new actor has to make a name for himself, he will have to do better than Daniel Craig, instead of emulating him.
supervillain "Largo" at a Bahamas casino in 1965's "Thunderball" sold for £60,480.
Proceeds from the sale will go to various charities, including BAFTA, British Red Cross, Medecins Sans Frontieres, National Youth Theatre, Refugee Action and The Prince's Trust.
"We are delighted with the extraordinary success of the Christie's sale which benefits over 45 charities who do incredibly important work," says Michael G. Wilson and Barbara Broccoli, producers at EON Productions.
Adrian Hume-Sayer, Christie's director and head of sale, said the result was "testament to the enduring appeal of one of film's greatest and best loved icons.”
"This is the fourth and by far the largest official James Bond charity auction on which Christie's has been privileged to collaborate with the EON Productions, we are thrilled that the money raised will benefit so many."
The money raised surpassed the combined total for all three previous official Christie's 007 sales, said the London auction house.
Sain Zahoor and Zarsanga, two of the leading folk singers of Pakistan, have won the Aga Khan Music Awards (AKMA) for the year 2022. The triennial Aga Khan Music Awards, incepted in 2018, recognize the exceptional creativity and enterprise in the realm of music in Muslim societies across the world.
Among the other award winners are: Zakir Hussain and Asin Khan Langa from India, Afel Bocoum from Mali, Daud Khan Sadozai from Afghanistan, Soumik Datta from the UK, Peni Candra Rini from Indonesia, Yahya Hussein Abdallah from Tanzania, and Seyyed Mohammad Musavi and Mahoor Institute of Culture and Arts, Iran.
Sain Zahoor is widely known for his folk music in Punjabi and Saraiki languages, coupled with a unique dressing and dancing style. Born in Sulaimanki, a village near Haveli Lakha of Okara district in Punjab, Sain Zahoor started singing in local cultural events and religious festivals at shrines across the province. With the launch of the Coke Studio, he garnered fame in no time, while his unique style of singing and playing his decorated musical instruments made him popular outside Pakistan too.
His most popular songs include: Allah Hoo, Nachna Painda Hai, Aik Alif, Maaye Ni Main Kinu Akhan and Dil Da Kabah. Sain Zahoor has performed in Norway, Belgium, Dubai, Malaysia, China and India. Indian film actor Amitabh Bachchan is among the diehard fans of Sain Zahoor and met him when Zahoor was on his visit to India. Sain Zahoor has also been given the Pride of Performance Award in 2020 and the Best Voice of the Year Award by the BBC Music in 2006.
Hailing from Khyber Pakhtunkhwa, Zarsanga is a Pashto folk singer and is commonly referred to as the Queen of Pashto Melody. She is also the recipient of Pride of Performance Award and her famous songs include: Da Bangriwal Pa Choli Ma Za Kht Me Zanzeri De Rasha Mama Zwi De Zma Da Ghrono and Pana Yara
By Omair Alavi KARACHI
He might not have been regarded as the most intense actor in his day but Indian film actor Shammi Kapoor was easily the most popular actor of his era. Despite being the middle brother of a trio that featured Raj Kapoor at the top, and Shashi Kapoor at the bottom, Shammi Kapoor changed the way heroes were portrayed in films, and that’s why he was more popular amongst the youngsters than his contemporaries. Rauf Ahmed’s Shammi Kapoor – The Game Changer is a tribute to the legacy of the dancing Kapoor who predated others and is still remembered for his iconic songs, and antics.
According to this biography – which also features quotes from the late actor who had many sittings with the author – Shammi Kapoor was on the verge of being declared a loser after more than a dozen flops in the 1950s, but when he decided to take control of his dwindling career, everything changed for the better and he was able to revive his career. The book explains how Shammi Kapoor broke the existing rules, made his own set of rules, and created a persona that was later emulated by others, including Jeetendra, Rajesh Khanna, and even his own nephew Rishi Kapoor.
Shammi Kapoor is credited with redefining the profile of the film hero in the late ’50s and making him more realistic than fantastic. The hero he played onscreen was never perfect and represented the youth of a newly-created country who wanted to experiment instead of following the traditions. This book takes the audience down memory lane where the audience gets to know things about Shammi Kapoor that weren’t known to the general public, and although it might seem irrelevant and outdated to few, for Shammi Kapoor fans
it’s the best thing to happen in many years.
If you didn’t know that Shammi Kapoor had initially resisted the idea of using R D Burman for Teesri Manzil, had an affair with fellow actress Mumtaz after the death of his wife, and was responsible for introducing the internet in the region, then this book is what you will need to refresh update yourself with everything Shammi. It explains why the actor who dominated the 1960s as the matinee idol chose to take the back seat in the next decade, and create a template that would benefit all those who chose to play older characters after being heroes in their youth.
Also know the reasons behind the machismo Shammi Kapoor displayed onscreen, as well as the inspiration behind his roguish demeanour and the flamboyance, which was an integral part of his song and dance routines. Not only did he break the cordon of the formidable Big Three of the time – his elder brother Raj Kapoor, Dilip Kumar, and Dev Anand – he challenged the latter by replacing him in films that Dev Anand left for one reason or another. It was Dev Anand who rejected Tumsa Nahi Dekha, the film that helped Shammi Kapoor break into the big league, and Teesri Manzil, which further consolidated Shammi Kapoor’s position at the box office as the man who could do no wrong.
After going through this biography, one would find out that although Shammi Kapoor’s father Prithviraj Kapoor, and brother Raj Kapoor influenced his decision to become an actor, it was his actress Geeta Bali who helped him change the direction of his career in a positive way. It was she who told him that he should use his off-screen goofiness to entertain the audience, which is how he revitalized his career which wasn’t going anywhere. Her death at the young age of 35 was easily the worst thing to happen to the actor who took time to recover from the loss, and he felt lively after getting
married for the second time. His experiences with frequent collaborators Nasir Hussain, Mohammad Rafi, and Shankar –Jaikishan are also the highlight of this book since it adds colour to the narrative. It also explains why Shammi Kapoor’s films had the best music, why he always preferred Rafi over others and how his style and swagger changed the way songs were filmed in those days. The behind-the-scenes details of some of his iconic songs will also entertain the readers who want to know how he felt while singing on a boat in Kashmir Ki Kali , hanging from a helicopter, and riding a chairlift in An Evening In Paris
His equation with his leading ladies is also discussed, as is the fact that he played both the lover and father of Saira Banu in films, rejected the idea of adopting Asha Parekh when it was presented by his wife Geeta Bali and why he never played the romantic lead with Mumtaz, with whom he was involved off-screen. If you had no idea that he almost married socialite Bina Ramani, then you are in the dark regarding most
pleasure among adults and children.
BOLD:
What inspired you to set up My Bookshelf?
Erum Sultan and Kamila
Rahim Habib: The idea for My Bookshelf was born out of our own frustration at the lack of trending titles available in Pakistan. We would have friends or family send us books from overseas. The amount we have paid in extra baggage is also another story!
After doing this for years, it struck us that many avid readers would probably be facing the same issue. Once we launched and saw the demand in the market and the instant response we got, we made our motto 'Make Pakistan Read Again'.
The benefits of reading span so many various areas of one’s life that we wanted to share the joy that we ourselves felt.
What purpose does a digital library serve in a society where physical libraries attract little attention and reading for pleasure isn't widely encouraged?
My Bookshelf is truly the best of both worlds. One cannot deny that times are changing, as are consumer preferences. Social media and digital platforms are here to stay and so our business strikes a balance between the physical and the digital space. Our titles are on our website, but we deliver physical books to our members nationwide. Libraries here have attracted little attention because they are not marketed well, and they do not carry the books that people want to read. We have made it part of our mission to encourage reading for
What were some of the initial challenges you encountered while setting up My Bookshelf?
How did you overcome them?
One big challenge has been sourcing books such as new releases, trending books and books that are not available here. The ones that are available are so expensive that it is out of the price range of most people.
In our effort to curb piracy, however, we still insist on carrying original books only.
This has not been an easy decision.
The other challenge was getting a website developed that had some sort of library management software that enabled us to track our books and also to track membership expiry, overdue books, etc.
What's the audience you had in mind for My Bookshelf? Do you believe your customer base has evolved over the years?
Our audience was initially anyone who likes to read. As we’ve grown over the years, we’ve come to know our target market better. Our customer base has evolved to include a lot more parents who are borrowing books for their children.
What are some of the most surprising discoveries you've made about people's reading habits in Pakistan through the initiative? Do people want to read books by local or international authors?
People love thrillers and romances! There is equal demand for books by both local and international authors. We have used our platform, however, to promote local authors and South Asian writers as our “own voices” are extremely important.
Libraries here have attracted little attention because they are not marketed well, and they do not carry the books that people want to read. We have made it part of our mission to encourage reading for pleasure among adults and children
In 2019, My Bookshelf began hosting book club sessions. In what ways have these sessions been beneficial in fostering a love for reading in Karachi?
Our book club is hugely popular – when we are late to organize one, our members make sure to remind us! In these sessions, we read a variety of books — trending, commercial fiction as well as books by regional writers. Our book club has grown as we select books that will interest and engage everyone.
My Bookshelf used to select an author of the month from the existing crop of local writers. What were the criteria for selecting these authors? How important is it for a digital library to support local talent?
We endeavour to support local talent, as we feel it is greatly underrepresented.
We chose established authors as well as up-and-coming authors – we want to highlight people that are writing great stuff. Supporting local writers is important, especially when you have a large platform. Publishing infrastructure is not cohesive here, and emerging writers need marketing and innovative ways to get their name and work out there.
'The Tea with My Bookshelf', your online talk show, has attracted considerable attention on Instagram. What inspired this project? How did you go about selecting the guests you interviewed on the talk show?
Our show is on YouTube, and we are having so much fun with it! We wanted to focus not only on books and authors, but also on people here that are doing interesting, innovative things. We look for dynamic guests who are doing something different, or adding value, or who we just really want to have a conversation with.
What are some of the most poignant conversations you've had as part of the online talk show?
Most of our conversations, be it with Sharmeen Obaid Chinoy, Omar Shahid Hamid, or Dr Mehrub Moiz Awan, bring to light some issues relating to a marginalised community that exists in Pakistan. This is especially true where women are concerned. Invariably the conversation veers towards how enough has not been done to curb gender-based violence, punish the perpetrators and protect women and minorities.
Kamila's most memorable conversation was with Sharmeen Obaid Chinoy, while Erum's most memorable conversation was with Mohammad Hanif.
What are your plans?
We would like My Bookshelf to be a community that encourages reading and also a place where you feel safe and protected and can be your authentic self, be it your digital self or in real time. Our goal is to reach people — especially women — and give them a safe space to voice their opinions on books, life, and share the wisdom they have acquired over the years. We also strive to support women in business and have done features on women entrepreneurs over the years.
The name Jamil Naqsh conjures images of pigeons. The name Mona Naqsh conjures images of flowers. Hence, it is fitting that at Mona’s latest exhibition – held at the Koel Art Gallery – she has managed to fuse the two together to form a symbiotic relationship between her work and the work of her father. As one would imagine, the death of Jamil Naqsh in 2019 left a profound personal and artistic impression on Mona. While many offspring of successful artists across the world struggle to follow in the footsteps of their parents, Mona has ensured that she both honours her father’s work but also maintains her individuality as a painter. Instead of making futile attempts to run from, fear or distance herself from her father’s artistic legacy, Mona has embraced it. Her latest collection of paintings and drawings are perhaps her most personal yet, and they serve as a showcase of her artistic sensibilities and also as a tender tribute to the bond between a daughter and her father.
Titled “Ode to My Father Jamil Naqsh,”
Mona’s artwork exhibition at Koel is, in her own words, a “humble series, through which I have tried to portray elements of our love and bond by incorporating my line of subject, flowers, with those of my father’s signature pigeons”. Wrapped in a cream-coloured saree and donning a string of pearls around her neck at the event’s opening reception, Mona comes across as a vision reminiscent of the faces which adorned her father’s canvases. She says that this exhibition has been a long time in the making, and was impeded by the pandemic, but she’s delighted to finally be able to share her latest work with the world.
Most of her sketches on display at the gallery play with the same motifs of flow-
ers, pigeons, glasses, vases, and, occasionally, newspaper clippings. The most arresting pieces among these drawings are the ones in which she incorporates the use of colour to add a burst of spontaneity and exuberance to the otherwise black and white sketches. This technique helps create a nice contrast between the pallor look of some of the images and the distinctive use of pastels, charcoal, colour pencils and oil paints. The usage of varying shades of blue in particular hearkens back to the palette used by her father over the course of his artistic career.
Mona’s paintings too continue to wrestle with the same themes, but her varied usage of colour in her paintings is perhaps
the most memorable aspect. The presence of great bunches of flowers creates a saturation and profusion of colour that is simultaneously delicate and overpowering. As Mona by herself has noted, the central theme of her work “follows the metaphorical completion of how God recreates life from the dying blossom and, in the same way, represents the inevitability of decay in the healthy flower.” Undeniably, the most arresting piece at the entire exhibit is the one which greets visitors right away as they enter the gallery space. Aptly named “Core”, this artwork embodies the best of what Mona has to offer as an artist and serves as the beating heart of the exhibition. Made up
of twelve smaller canvases joined together in rows of three, the resulting creation comes across as a sort of Rubik’s cube or jigsaw puzzle. Smokey blues and dark hues spread across all twelve canvases which depict flowers rising out of their container. But the pièce de résistance of this artwork is the hollow centre at its heart, within the depths of which resides a painting of a set of pigeons. Not only is this the stand-out work on display at the exhibit, but it is also the most apt representation of the linkage between the work of Mona and Jamil Naqsh. The pigeons – which were Jamil Naqsh’s hallmark –occupy the central space amidst Mona’s flowers, serving as a reminder of the person who lies at the core of her artwork and being. Mona’s work also draws heavy inspiration from French-Russian painter Marc Chagall’s saying, “I see God in every flower.” As Mona puts it, “In nature everything is neatly arranged and interconnected. This intricate network has a silent language of patterns which appears again and again relevant to all forms of life.”
The on-going conversation with nature permeates all of her work. “Nature is full of surprises,” she says, “In this secret world everything is neatly arranged and interconnected. Every entity held in a delicate balance. If we shed more light on these relationships and in their intricate network, we reveal fascinating facts about their purposes, place and function.”
The curator of the exhibition, Pomme Amina Gohar, is of the opinion that Mona speaks the language of flowers. According to her, “Mona’s paintings are unique in their sensibility. Flowers provide a source of artistic inspiration for her and she paints them with a devotion and intensity. For me, her art remains traditional and timeless. Her work’s organic energy translates the beauty of nature. In Mona’s
work, there is a silent yet strong tribute to her father. The presence of the pigeon, the amalgamation of textures and the importance of drawing transcends from the master artist Jamil Naqsh.”
However, Mona’s list of artistic influences isn’t simply limited to her father.
One can see traces of impressionist painters like Pierre-Auguste Renoir, Claude Monet, Vincent Van Gogh and the early works of Pablo Picasso, particularly his Blue Period. Yet, the guidance and memory of her father is undeniable in each one of her paintings and drawings. Gohar echoes this sentiment, saying “The intensity of observation was something that Mona’s father had instilled in her from a young age. He was a mentor in honing her painting techniques and all of Mona’s formal training was accomplished under his tutelage. In her current collection, Mona has blossomed in her own style, taking the best from her father but showcasing her unique mastery in the art of floral por-
traits.” The curator also included a video installation which showed clips of Jamil Naqsh and traced the links between his work and Mona’s journey as an artist. Judging by the fact that most of the artwork belonging to her latest collection has already been sold, it’s safe to say that the emotions Mona’s paintings evoke resonate deeply with viewers. With the exhibition set to run till 26 October, 2022 at the Koel Art Gallery, it seems likely that the show will continue to draw large crowds. If the opening reception is anything to go by, Mona’s tribute to her father has proved to be a resounding success. Jamil Naqsh once told Mona that, “The subject is not important, how you treat that subject is important”, and she has certainly held true to her father’s advice. Her father has now become the subject of her work and, given that Mona kept a photograph of her father next to her while creating these artworks, her deeply intimate canvases may well be remembered as some of her best.